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These men are the labor core of the community as they perform most the heavy labor. The aumaga are tasked with building houses, repairing roads, planting and harvesting gardens, fishing, and cutting and selling coconut meat.

The aumaga also have ceremonial responsibilities, such as helping the chief in ritual cooking and serving the food at ceremonies.

They also serve as informal keepers of the peace, interacting with each other as a large group of friends.

They often play cards, cricket or gather for dances and parties with each other. The aumaga are supervised by a relative of the chief, called the manaia supervisor , who helps organize the aumaga and plan their activities.

It is possible, as the natives suggest, that the Samoan Islands were settled some time before BC and that the original settlement predates the arrival of those to whom the pottery was culturally relevant.

It is also generally a wide spread cultural belief throughout Samoa that the islands were the central base point for the beginning of the great voyages, the Polynesian expansion to the East and South.

The voyages still spoken of in ancient Polynesian chieftain oratory poetics lauga are called 'taeao'; a recalling of past histories and contacts within the Polynesian archipelago by Samoan oral high chiefs.

Early contact with Europeans was established in the 18th century. Christianity was formally introduced with the arrival of L.

Christian missionaries in August The western islands became German Samoa. Western Samoa regained its independence on January 1, In it formally changed its name to Samoa.

Marriage ceremonies are important Samoan cultural events. Marriage involves the transfer of property of the female, the toga, and the male's property, the oloa.

It is a village event, with two ceremonies and a feast at the conclusion. In the first ceremony, the bride and groom march through the village to a district judge.

The judge then conducts a civil ceremony. Concluding that official ceremony, the newlyweds next gather in a church where a religious ceremony is performed by a member of the church.

At a feast, families provide food from all over the village. After the conclusion of the wedding, the newlyweds choose which side of the family they would like to live with.

After moving in with a particular family, they are expected to do work around the land and the house to help provide for their family. When families have children, they too are expected to help with duties and chores around the land, by age three or four.

The young girls take care of other children and housework, while the boys help with cultivation, animals and water gathering.

By the time the children reach the age of seven or eight, they are expected to know and be acclimated to the life and chores of the Samoan culture.

This includes being adept at "agriculture, fishing, cooking, and child care" [11] along with a multitude of other chores that their elders have directed them to do.

As the Samoans grow up, they are given the most tasks and responsibilities they can hold, until they can take over fully for the aging members of their extended family.

When a member of extended family dies, the funeral preparations start almost immediately. The deceased body is bathed and dressed in white.

They are placed on woven mats before the funeral less than hours later. A feast concludes the event, with food being served to mourners and people who helped with the burial.

Other family members take over the responsibilities of the deceased while still serving their own personal chores around the land. The elected Matai of the community is the controller of every portion of a village land.

The village Matai says what cultivators will do with land and "hold sway over allocation of plots and the ways in which those plots are used.

This is to avoid it being controlled by one family for a long period of time. Village house lots is where individual houses or huts of single person or family lives.

These houses are built in clusters. The clusters include multiple different aspects, but all look the same.

Each house includes a main sleeping house, a guest house and a latrine. The underbrush covers the entirety of the land. These plots of land are recognizable to all villagers and are separated by boundaries.

Boundaries are usually made up from a variety of rocks, streams, trees and plants. It is very easy to distinguish the different properties owned by separate families.

Family reserve sections are where crops are cultivated. The biggest amount of crops grown within the Samoan culture is taro leaves and yams.

However, they would be no longer classified as a family reserve but regarded as owning the crops but not the land.

This is due to the fact that crops grown here are able to grow quickly and easily without many interruptions. Village land is the least cultivated and most shared portion of land in Samoan villages.

To be able to plant here requires permission from the village council. This is because "the land is community property and not family owned".

Traditional Samoan tattoo tatau , pe'a male tatau , malu female tatau , demonstrate the strong ties many Samoans feel for their culture.

Samoans have practiced the art of tattooing men and women for over 2, years. To this day, a man's tattoo extensively covers from mid-back, down the sides and flanks, to the knees.

A woman's tattoo is not as extensive or heavy. The geometric patterns are based on ancient designs that often denote rank and status. The va'a canoe , for example, stretches across a man's mid-back.

In Samoa's cultural past most males were tattooed between the ages of 14—18, when it was determined they had stopped growing, so the designs would not stretch and suffer in beauty.

Today, there has been a strong revival of traditional tattooing in the past generation, not only in Samoa but throughout Polynesia, often as a symbol of cultural identity.

Tatau, the Samoan word for tattoo has a number of meanings including correct or rightness. It also signifies the correct quadrangular figures in reference to the fact that Samoan tattoo designs do not include circular lines, although other Polynesian tattoo motifs do.

Early Englishmen mispronounced the word tatau and borrowed it into popular usage as tattoo. Traditional tattooing is a painful process.

The Samoan tattoo master dips his cutting tools into black ink made from the soot of burnt candlenut shells and then punctures designs into the skin.

The cutting tool consists of a short piece of bamboo or light wood with a piece of tortoiseshell bound at right angles at one end. A little bone comb is bound to the lower broad end of the tortoiseshell.

The larger the comb, the greater the area on the skin is covered with fewer strokes. The master uses a small mallet to repeatedly tap a short-handled instrument.

The process takes days and is sometimes partially accomplished over longer periods, with recuperation in between.

Tattoo designs have changed to include freehand symbols such as the kava bowl representing hospitality; the characterization of the Samoan house or fale signifying kinship; emblems of nature — shells, fish, birds, waves, centipedes; and the traditional geometric lines and angles of different lengths and sizes.

Modern pop and rock have a large audience in Samoa, as do several native bands; these bands have abandoned most elements of Samoan traditional music, though there are folky performers.

Recently, the population has seen a resurgence of old Samoan songs, remixed in the style of reggae but with some traditional elements, such as the use of the pate and old chord structure.

In addition to this was the human voice. This limited range of instrumentation had no effect on the importance of music in Samoan life.

Because there was no written language many stories and legends were propagated through song and the complex rhythms from the pate are essential in the performance of many Samoan dances.

In fact in many dances, the dancers themselves add to the rhythm by clapping their hands, and dependent upon the way in which the hand is held produce a range of different sounds.

Two instruments were developed that are now synonymous with Samoan music, the selo and the ukulele. The selo is a stringed instrument made from a broomstick, or similar object, attached to a large box, bucket or other object that acts as a sounding board.

A single length of string joins the top of the stick to the box, which is plucked to produce a sound similar to that of a bass.

The ukele is a small guitar-like instrument but with only four strings. It can be found in two forms, one which is like a miniaturised guitar, the other where the body is made from half a coconut shell.

Western string instruments such as guitars are widely available across the Pacific Islands, with many bands performing and recording acoustic and amplified music in Samoa since the s.

Younger generations continue to perform in string bands as well as gravitate toward genres such as reggae , hip hop , rhythm and blues , gospel and soul.

In Samoa, music is a big part of their culture. Traditional Samoan music still has a purpose and a function in today's society, but has partially given way to contemporary or externally-influenced genre of Samoan music.

Of them are high mixture of Reggae and Hawaiian music which can also illuminate as an important influence on Samoa. There are many popular musicians who hail from, or who are of Samoan descent.

One traditional instrument of Samoa is known as the Fala. It is originally from Tahiti and introduced to Samoa about years ago.

It is made of wood from and carved with tribal references or designs. The Fa'ataupati or slap dance, performed by males, consists of fierce slapping of the body in rhythmic motion to drum beats.

Other Samoan dances include the Maulu'ulu , which is an all-female dance that is more elegant. The Sasa is a dance that can be performed by both males and females in a seated position or standing.

The Siva Tau is a war dance performed by Samoan sporting teams before each match. The Taualuga , a celebratory siva, and center of Samoan culture, has been adopted and altered throughout Western Polynesia.

Traditionally performed by the virgin highborn son or daughter of a Samoan chief, a taupou female or manaia male will dressin full festive attire for the siva.

Usually consisting of a finely woven ie'toga mat decorated with feathers of the "sega" collared lory or blue crowned lorikeet. However, modern performances primarily consist of dyed chicken feathers.

Performers also dress in a surplus of anklets and armbands made of ti leaves, sea turtle shells uga laumei , coconut shells, or boar's tusk.

Followed by the crowning attire of the taupou or manaia, the headdress or "tuiga". Hi there! Sign in Create an account Buy images Sell images. Share Alamy images with your team and customers.

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Save to lightbox. Dated 19th century Photograph of Samoan girls playing cards. Children on 10 Tala Banknote from Samoa. Two Samoan girls carry enormous leaves over their heads.

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